International plot consultant, author of the Plot Whisperer books for writers and founder of PlotWriMo, I help transform stories. As Secrets of Personal Transformation visionary, I help transform lives.

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30 April 2012

On our way out from the Desert Rose RWA conference, a writer asks for help with her story. Using the plot planner she created in the workshop, she points to the key scenes in her story, her face filled with joy and confidence in the layout of the dramatic action scenes. She turns serious as she expresses concern about her character's likability in the beginning first quarter of the novel. Then she slices the edge of her hand, cutting off the first quarter and looks up beaming as she declares she likes her story from that point on to the end.

I wait for a moment, hoping she'll feel what I just witnessed. When she doesn't, I utter the impossible: "Why not start there?" The pain in her eyes make me long to pull back my words. I've just asked her to cut 100 pages from a story that is overly long. Still, 100 pages...

"But I introduce important elements in the beginning."

"They can be integrated into the new beginning," I suggest.

"But I love my first scene."

I cringe, wondering how many hours she spent making it perfect.

"It's only one of lots of scenes you love," I suggest.

Exhaustion overtakes her face. Three intense days. I don't want it to end this way. Still, I know when she's rested, the 300 pages that work and bring her energy and joy will reach out to her. She has a successful debut already out. She knows what she is doing...

Advice to self: Rather than labor over something that causes pain and frustration and feelings of failure, why not start with what brings you joy...

The conference lived up to its name; the entire desert appeared in full bloom upon our arrival in Phoenix. Met up with my agent and dear friend, Jill Corcoran, and fun began. My name badge as The Plot Whisperer seemed to part the waters; everyone was more than kind and often downright respectful to me. No Plot Whisperer books in the bookstore. They sold out before I even arrived (note to self: ask for a guarantee that the number of books available for sale equal the number of writers anticipated at my workshops)

Everywhere I turned were posters of book covers with women of incredible beauty clutching men of incredible strength oozing incredible desire. I fell in love with two young women writers, with their beauty and their belief and their earnestness. In the blinding desert light, a writer I had connected with just a few times on Facebook, albeit in a powerful way, freed me of a deep sadness as easily as if she waved a magic wand over my head. The heat of the sun lingered into the night.

I quaked a bit under the weight of the expectation writers expressed for my "keynote" plot workshop on the final day. The heat of 200 anxious writers radiated up to me high on the stage, firing hotter and hotter as more and more light bulb moments danced over their heads...

17 April 2012

Some writers desire help in brainstorming plot elements for their stories. Others are looking for a way out of the corner they've written themselves into. Some want to test the story choices they've made. Others simply want encouragement and a renewed belief that the time and effort she puts into her story is worth it, that her story is worth it, that she is worth it, that someday someone will read her words and be moved by her story.

The exercise of listing scenes and filling in a character emotional development profile and coming up with a thematic statement grounds her and organizes her thoughts and notes and story. Slowly, the tangled mess of threads floating every which way on the surface of still water begins to weave into a cohesive container for her story.

In the past several months, the stories I hear from women writers seem to me to be digging deeper than stories in the past and reaching for more complexity, dealing with grittier themes that build to more truthful endings from real and powerful female characters.

To familiarize yourself with the Universal Story and the basic plot terms in the above blog post:

13 April 2012

Some writers start out writing a story knowing exactly who and what they are writing about and stay true to that vision from beginning to the end. Others write about one character doing one thing, then switch to another character doing something else, and then switch back to the first character or switch to an entirely new person with different action. Switching viewpoints reveals a multitude of sides to a story. Switching too many times leads to a tangled mess.

A writer works on the same historical novel for 5 years. She writes a completed draft from beginning to end in 3rd person omniscient. The time she takes researching and writing the first draft serves her well; she knows all the angles of her exotic and mysterious world and all the nuances of her major characters.

Unsatisfied with the distance created by the omniscient pov, she undertakes writing the story from beginning to end from the pov of a major male character in the clergy who is a true historic figure. Quickly, the writer knows he is the wrong choice to carry the story. She comes to me when she decided to write the story from the pov of view of the Grand Empress of her story -- a true historical figure.

Thanks to her broad and deep understanding of her story and the time and place in which the story takes place and a firm understanding of the craft of plotting, she plots out the entire story from the new viewpoint character's pov.

As she relates the scenes of the story, the writer struggles to surrender the story to the empress and release or push into the background some of the major elements that developed while writing the first draft and a half.

Once she sees the entire story through the empress's hopes and dreams and goals and the character arc develop smoothly from her personal character traits, slowly, the writer embraces the new story line. By the end of our time together, she accepts which scenes belong in the story and which ones need to be tweaked to support the empress's primary plot.

No time is ever lost when writing a story from beginning to end. Every draft, every dream, every scene makes for a better writer.

To familiarize yourself with the Universal Story and the basic plot terms in the above blog post:

11 April 2012

She's confused about the difference between the crisis and the climax, and this is after a 5-hour plot intensive (where we began with the climax first and then moved to the beginning). She admits to having reread chapters in my book and watched a couple of videos again. Still confused.

"What is the difference between the crisis that brings the protagonist to her knees and the climax?"

Then she briefly relates a beginning with unusual characters and a protagonist with a concrete and relatable goal. Good start.

She then jumps to a description of one of the scenes she's confused about. It's a classic crisis, the kind that makes the hairs on the back of your neck stand on end. This is where the protagonist is attacked and brought to her knees. She dies to whom she has always been, never to return to innocence. Terrific crisis.

Next is a classic threshold of understanding and personal insight. (Dori for her mother)

The story ends with an easy though satisfying climax where the transformed protagonist stands firm in her own, newly found or rediscovered personal power and makes the right choice. (Dori's refusal).

The key scenes are always there though often difficult to peel apart from all the words until a writer stands back and sees each scene in relationship to all the other scenes on a Plot Planner.

To familiarize yourself with the Universal Story and the basic plot terms in the above blog post:

03 April 2012

She reports that some members of her critique group love the beauty of her language. Others complain about her story moving too slowly, that all the scenes seem the same, that the protagonist is "reporting" the story rather than living it.

The group gives the piece a B+ for the beautiful language. They call the structure and the pacing poor and give both elements of the story a D.

She starts off with two different beginnings. Her desire is to give readers the choice to pick which beginning they like the best. Instead, the beginning comes off as distancing and confusing and self-conscious. Rather than slip into the action of the story, the reader reads the words that form into sentences and then paragraphs and chapters, all tedious and drowning in details and making the story off-putting.

Some critique members quit reading before reaching even the middle of the story. Others read out of respect. Those who continue reading finally find themselves truly committing to the story at the halfway mark.

What do I do? wails the writer.

It all comes back to what does the character want?

You don't know what she wants? Ask the writers in critique group. They know what she wants.

What is she willing to do to achieve what she wants. What stands in her way of success?

Push aside the words and analyze the energy of the story.

The stronger the pressure (antagonists) is against her, the greater the strength the protagonist gains when she confronts and overcomes that force. The greater the force is against her, the bigger the change in her direction toward her ultimate goal. The more dramatic the change in direction, the greater excitement and anticipation in the reader and audience.

To familiarize yourself with the Universal Story and the basic plot terms in the above blog post:

Links

How Do I Plot a Novel, Memoir, Screenplay?

Plot Whisperer

Plot Whisperer offers plot tips for writers and bloggers eager to create compelling novels, screenplays, memoirs and blog posts with the reader in mind. All writers struggle with what to put in and what to leave out of their works in progress, how to hold a reader's attention and earn their loyalty, and how to create depth and meaning in their writing for the greatest good.

"To Martha Alderson, whom I've never met, but whose books and DVDs about plot were invaluable. Thank you for all you taught me!"" Nancy Cavanaugh author of This Journal Belongs to Ratchet

"Thanks Martha! You made Nardi Point possible." Nancy LaPonzina author of Nardi Point

"I got some stimulating new ideas from you as well as much needed validation. Thank you. Thank you." Nnegest Likke writer/director of Phat Girlz

"Martha is a plot genius. She takes on my work as if it were hers, but with the perspective of an outsider, allowing me to pin-point problems I might never notice. She is fabulous to work with!" Kathleen Shoop, author of After the Fog and The Last Letter

"The project you helped me with, Talhotblond, aired on MSNBC and was purchased by a major studio for distribution. I walked away from your seminar not only more confident, and with a great roadmap, but with a burst of creativity that I haven't felt in a long time. Martha Alderson's advice really is like a secret weapon." Barbara Schroeder, writer/director of Talhotblond

"I followed your plot planner advice for all three books and I can't even tell you how much it helped me. Before I found your method I was lost but once I started following it -- everything fell in place. Anyway -- I just wanted to touch base with you and say thanks." J. Anne Huss, author of Clutch, Fledge, Flight

"I am so happy to tell you that I have sold my first screenplay to a producer wanting to make the movie and keep me on as a writer/producer for the script SCUBA. Your instruction on structure and plot really made the difference. Thanks for giving me the tools I needed to succeed in this industry." Shawn, screenwriter

"I wish I could wrap you in the galaxy of gratitude and whirl you into the pure joy of nature! You are so generous with your time, insight, expertise, wisdom, and kindness. I am a bit overwhelmed but truly excited to get to work. Thank you." Luisa Adams, author of Woven of Water.

"Martha's gentle questions about motivations and theme led me deeper into my story. Looking for clues in the characters led to intersections with other characters, plot complications and best of all, conflict. Martha's keen insights about the structure of plot helped me better understand the story I was telling and gave the tools I needed to write it, in a new and exciting way." Terri Thayer, author of Wild Goose Chase and Stamped Out

"I learned so much it is like someone opened my brain and poured in a whole new way to write. My consultation with you was invaluable. It was not only what you taught me about plot: your encouragement and enthusiasm gave me confidence. You are a genuine and generous human being, and that is the real gift." Mary Cronk Farrel, author of Fire in the Hole and Daughters of the Dust

Martha is as knowledgeable and passionate about storytelling and "plotting" plot as anyone I have ever met. Her books, templates and workshops break it down and get the light bulbs going! A writer at any level will learn something." Jennifer Solow, author of The Booster

"Taking your class several years ago was integral in improving my craft as a writer and I want to make sure you know that this has been an important part of the success I've finally attained. My agent got me a two-book deal with St. Martin's Press! It's so exciting as it's hard to believe this is finally happening." Wendy Tokunaga, author of Midori by Moonlight & Love in Translation

"Martha Alderson, the 'Plotting Queen' introduced me to the front story/back story concept while I was weaving LOVE MADE OF HEART. This extraordinary teacher came through again, with her book! Just in time for me to finish weaving another novel!" Teresa LeYung Ryan , author and community member who encourages everyone to step into their dreams.

"Hey, regarding your book - someone sent me a copy of Chris Baty's (the creator of NaNoWritMo) book NO PLOT, NO PROBLEM. It's merely musings compared to your Bible. It would be nice, though, since 90,000 people signed up for NaNoWriMo (National Novel Writing Month) this year, if your book had a tie-in somehow, like maybe on Amazon's 'If you like this book, then you'll LOVE Blockbuster Plots'. Just a thought, Martha!" Mary Eastham, author of The Shadow of a Dog I Can't Forget

"I cannot stress how Martha's emphasis on the external aspect of plot drove home to me the inherent necessity for a clear plot if the story is not only to hang together and make sense, but have meaning, too." Anjuelle Floyd, author of Keeper of Secrets

"It would save a lot of people a lot of time if they did this from the start. The Plot Planner is a good tool for taking something that is huge and unwieldy (a novel) and making it something that can be understood at a glance." Jim Averbeck, author of In a Blue Room

This book will change the way you approach writing! Martha Alderson's Scene Trackerand Plot Planner tools have helped hundreds of workshop and conference attendees hone their skills, and now you can learn how to take the fear out of plotting even if you can't attend one of her workshops. If you only buy one writing book this year, buy Blockbuster Plots! Melanie Rigney, former Writers Digest magazine editor

"How is that fabulous Block Buster Plot program going? If I get the chance to do another book, you will see me at the front of your class. Without your help plotting my book, Taking Aim at the President, I would not be published today." Geri Spieler, author of Taking Aim at the President

Writing's not easy. One of the hardest things to do well is write great plots. And because reading superbly plotted books isn't always enough to boost one's skills, Los Gatos author Martha Alderson offers a slew of ways to get your plot-lines flowing again. In addition to being the author of "Blockbuster Plots: Pure & Simple" Alderson also offers one-on-one plot consultations. You can contact her -- and keep up on local literary events, meetings, conferences, contests and retreats -- at her Web site. Santa Cruz Sentinel

Don't have problems plotting? Think a book on characterization, theme, editing or synopsis might help your writing more? Do yourself a favor and don't dismiss Blockbuster Plots: Pure & Simple on the merits of title alone.

True--the majority of the book focuses on plot, how to go about discovering the one hiding in your story and strengthening crucial details to help it become, well, the blockbuster plot you envision. But throughout the book, Alderson provides more than plotting activities--she also gives lots of insightful writing advice that help you think of ways to improve your story in different, dynamic ways.

If plots aren't your cup of tea, or maybe if they are but you're willing to look at another interpretation of how to get more mileage from them for your story, Blockbuster Plots is an excellent place to start. BOOK REVIEW by Beth Morrow

Confused about the basics of building a plot in a story? Martha Alderson's focus on how to produce a superior one applies to novels, memoirs and nonfiction alike, using scenes by contemporary writers from Twain to London to show how to create logical and substantial plots. Visual representation of scenes is the focus of a step-by-step workbook packed with tips on everything from character development and depth of story line to action and theme clarification. Any writer seeking to produce not just acceptable but superior works must have this guide. Midwest Book Review